Popular Music

Curious Soundtrack which starts with a distinctly Arabic sounding bellydancer type song track thats very catchy and pop ish sounding.
This is then followed by various themes which played by the City of Prague Philharmonic in what could be described as an analogue sounding laid back csoncert symphony style.whew.This is interupted by the occasional track ie Limo Rock which is a distinctly Punk Rock "sampled" piece leading into "The red light district".
This may give some clue as to the theme and subject matter of the film.(not seen it myself)
Noisy track is then followed by a couple of very serene tracks which are then followed by a jazz/funky electric guitar led number "On the bakfiets"
This will give you some idea of the realativly disjointed musical experience as a lot of the nice tracks are too short to really enjoy.Some come to an abrupt halt,some fade away.
These 30 tracks are descriptive and typically film music of the hollywood style.I only wished that My Zimmermann had recorded a concert Suite of the music in sacd rather than the soundtrack version.
Booklet with a description of the film (set in Amsterdam with a Moroccan connection) includes a picture of the hooker but says zero about the music.
stereo and multichannel (4.0) Excellently played and well recorded except Gimmicky pop tracks seriously detract from the musical enjoyment.

Telegram from Paul McCartney 'This is just great; absolutely what we meant' Daily Telegraph 'If Mr. Palmer's intention was to disturb, he succeeded brilliantly. It was absolutely chilling.' Observer 'It said more about pop than a year of Top Of The Pops.' New Statesman 'Brilliant and frightening.' Spectator 'Remarkable...I have no doubt that wherever it is shown the film will win professional acclaim.'

On May 8th 1956, Look Back in Anger changed theatrical history. It’s a fact. But why? And in what ways? And could it possibly be true that Osborne wrote very little else of consequence, as some of his harshest critics maintain? And what exactly did his outbursts against the world in which he found himself really represent?
Osborne believed in an England which he saw successive governments destroying, and saw himself as almost a lone voice screaming protest - it was as simple as that. But this protest was maintained at a terrible cost, to his wives, to his professional standing, to his health, to his pocket, and eventually to his own self-confidence. He made an epic journey from the most successful playwright of his generation, to a forlorn and almost forgotten figure, railing at those who preferred to ignore him. But what was really extraordinary was that throughout that journey, he never lost the fiery power of tongues.
A unique aspect of this two-hour film is the recent discovery of extracts from some of the original stage performances of Osborne’s most famous plays, material of great historical importance not seen for almost 40 years. - Laurence Olivier in The Entertainer; Albert Finney in Luther; Nicol Williamson in Inadmissable Evidence; Robert Stephens in Epitaph for George Dillon; Jill Bennett in A Patriot for Me, with a very young John Osborne as Reidl. Apart from a behind-the-scenes look at Osborne’s Oscar-winning film, Tom Jones, other contributions are from David Hare, Richard Burton, Claire Bloom, John Heilpern (Osborne’s authorized biographer), Peter Nichols, Christopher Hampton, Jocelyn Herbert, Claire Bloom, Charles Wood, Kenneth Tynan, Tony Richardson, Natasha Richardson, Lindsay Anderson, Peter Bowles, Ben Walden, Terence Frisby, Bill Bryden, Sylvia Syms, Anthony Page and the late Helen Osborne, with extracts from other plays performed by Peter Egan and Tom Hollander.

Collection: Orchestral WorksA new recording of classic Beatles tracks, conducted by Carl Davis and played by the Royal Liverpool Philharmonic Orchestra.

A chance remark sparked off this CD. My old friend, Sandra Parr, Concerts Manager and backbone of the Royal Liverpool Philharmonic Orchestra said in passing, ‘You know we are always being asked to play Beatles, but we don’t have anything’. I replied, ‘I’ll give you something to play’. Indeed, the original recordings are still with us and I feel for a long time yet. But the melodies are very strong in themselves and if arranged sensitively would be a very pleasurable CD and fulfil a need. It would demonstrate the range of their talent from the early rock and roll influences to the quirky, with my own special preference for Paul McCartney’s soulful ballads. Carl Davis, March 2011
This album of The Beatles for Orchestra consists mainly of brand new orchestral arrangements of some of the most memorable Beatle compositions.
The Rhythm section was put down at Abbey Road using some of the finest session musicians in their field and with the Abbey Road Engineers. The Royal Liverpool Philharmonic Orchestra was then recorded in Liverpool again using the Abbey Road mobile unit and engineers, finally the album was mixed at the Penthouse Suite at Abbey Road, to provide this unique recording of The Beatles for Orchestra.

Carl's classic album from the 1980s. The album originally entitled 'Liverpool Pops at Home' grew out of the Royal Liverpool Philharmonic's desire to put on a concert called Sounds of the City, a concert to show the richness of the musical legacy from the great musicians and composers of Liverpool. The evening hit all the right buttons and a recording followed.

Also featured is the much sought after Champions Suite, one of the most frequently requested of Carl’s works, from the acclaimed film Champions which charted top jockey Bob Champion’s fight with cancer.

Subcollection: Voices and OrchestraFrom 1955 through 1964, Judy Garland was one of the most celebrated, acclaimed, and best-selling album artists on the EMI/Capitol roster. On several occasions during those years, she had the opportunity of recording at Abbey Road Studios. This 2CD set assembles her work done there between October 1957 and August 1964. Not only are 12 previously unreleased alternate takes included but, more significantly, a completely unknown/undocumented recording of a song called Please Say 'Ah'! The Mort Lindsey orchestration of this song is complicated and marvellous, the band on top form; Garland and her vocal partner, Saul Chaplin, are having a wonderful time and this great piece of fun, liberally sprinkled with Garland's infectious laugh, demands to be heard! This historic issue is the very first composite compact disc celebration of its kind and a guaranteed collector's item for anyone who appreciates the Great Popular Songbook - and "the World's greatest entertainer."
CD 1
Track 1: Orchestra conducted by Geoff Love Abbey Road Studios, 2-9 August 1960
Tracks 2-21: Orchestra and chorus conducted by Norrie Paramor

Grammy-nominated singer Adam Lambert (American Idol) and Hollywood award winning singer Steve Cooke powerfully and soulfully interpret ten rock ballads each on this exclusive double deluxe collection The Paramount Sessions with Madonna and Seal's backing band. The re-mixed and mastered songs feature new tracks, extended plays and out takes from Adam Lambert and Rocking vocals from Steve Cooke. On guitar Monte Pittman (Madonna, Adam Lambert) on bass, piano and keyboards Marcus Brown (Seal, Madonna) and drummer Steve Sidelnyk (Seal, Madonna) on lead guitar is Phil X (Bon Jovi) with additional drumming from Brian Frasier-Moore (Madonna). The album was produced and mixed by Grammy-Winner Bob Cutarella (also produced for Slash, Les Paul and Celine Dion) and 2x Grammy-winning engineer Alfonso Rodenas. Adam Lambert captured the hearts of Americans during his amazing performances in American Idol, singing songs from Johnny Cash to Queen. Steve Cooke's vocal performances embrace the tones of INXS, Zep and the Stones. The album is an easy listening epic of twenty songs accompanied by 2 Music Clips - Radio and Gravity. Radio features Steve Cooke and Adam Lamberts Band, with Steve Ferrone on drums (drummer for Tom Petty). This show keeps rolling with two nominations for this year's Hollywood Music and Media Awards, with Radio for Best Video and Gravity for best Adult Contemporary song.